Why, then, do we not read him more and value him as he deserves? For two reasons: first, the difficulty of adequate translation; next, the mysterious richness of his thought, whose pearls are not strung across the door of the lines to warn us, as later poetry so candidly does, that within there is nothing but barrenness. The proper understanding of Dante has been a growth, beginning in Italy as soon as he was dead, extending gradually over Europe, into England, and now westward, gaining in clearness and glory as time recedes and space enlarges. Within a century after the poet’s death lectures on his works were delivered in the churches, and, as soon as the invention of printing enabled, numerous editions were edited and circulated. The first translation was into Spanish; then into French; next into German; and a copy of a Latin translation of the _Divine Comedy_ by a bishop was made at the request of two English bishops in the early part of the fifteenth century, and was sent to England. Spenser and Milton were familiar with the poet’s works, but the first complete English translation did not appear until 1802. Of the English translations since then, the most familiar are Cary’s and Longfellow’s; and to this catalogue Mr. Lowell adds: “A translation of the _Inferno_ into quatrains by T. W. Parsons ranks with the best for spirit, truthfulness, and elegance”—praise which will be cordially endorsed by those who have profited by Mr. Parsons’ labor. We propose to discuss Dante the man and Mr. Lowell’s estimate of him, as exhibited in his writings, and shall touch upon the latter only as they may be necessary to the clearer revelation of their author’s character. For Dante, like Milton, was not of common mould; in whatever aspect we view him he proves extraordinary to a degree which frequently becomes incomprehensible. It is natural to wish to throw the two under the same light, although the result of the experiment is only to magnify their points of difference and diminish those of comparison. The sum of the results appears to be that only in the accidents of life are they comparable; in the essentials of character, with a single exception—that of intense faith—they were radically unlike. Widely apart as their names appear—Dante dying in 1321 and Milton entering life in 1608—men were engaged during the lives of both in civil revolution, and each had his own theory of government and exercised the functions of political power. Both were men of sorrow, both were unappreciated in their day and generation, and the light and joy which each experienced emanated from within and supplied the fire of their genius. The noblest work of each was written in the gloomiest period of his life. Here the possibility of parallel ends.